Expressiveness in musical emotions

Physical Spaces in Higher Education as Scenarios of Learning Innovation: Compositional and Formative Synergies among Architecture, Music, and Fashion

Learning innovation is a positive approach on the contemporary higher education international stage. This article stresses the need to devise physical spaces that are also innovative. For that purpose, using a qualitative methodology, we investigated recent trends based on the synergies between certain creative disciplines: architecture, music, and fashion. The comparison was based on compositional features and formative dimension. Using a qualitative methodological comprehensive approach, a set of case studies was analysed. The findings show the usefulness of activating these synergies as effective strategies when enriching educational processes in different ways. Six cases of excellence wherein university physical spaces reached levels of innovation were studied, representing relevant transfers among the three disciplines. The text presents examples that show the educational consequences in the establishment of those synergies, in terms of both composition (music–architecture) and the activation of heritage sites in the city as venues of learning innovation (fashion–architecture). The basic conclusions were based on the fact that the increase in teaching and spatial creativity that emanates from said synergies among the three disciplines can be potentially extrapolated to other areas of knowledge.

Emotion elicitation during music listening: Subjective self-reports, facial expression, and autonomic reactivity

The use of music as emotional stimuli in experimental studies has grown in recent years. However, prior studies have mainly focused on self-reports and central measures, with a few works exploring the time course of psychophysiological correlates. Moreover, most of the previous research has been carried out either from the dimensional or categorical model but not combining both approaches to emotions. This study aimed to investigate subjective and physiological correlates of emotion elicitation through music, following the three-dimensional and the discrete emotion model. A sample of 50 healthy volunteers (25 women) took part in this experiment by listening to 42 film music excerpts (14 pleasant, 14 unpleasant, 14 neutral) presented during 8 s, while peripheral measures were continuously recorded. After music offset, affective dimensions (valence, energy arousal, and tension arousal) as well as discrete emotions (happiness, sadness, tenderness, fear, and anger) were collected using a 9-point scale. Results showed an effect of the music category on subjective and psychophysiological measures. In peripheral physiology, greater electrodermal activity, heart rate acceleration, and zygomatic responses, besides lower corrugator amplitude, were observed for pleasant excerpts in comparison to neutral and unpleasant music, from 2 s after stimulus onset until the end of its duration. Overall, our results add evidence for the efficacy of standardized film music excerpts to evoke powerful emotions in laboratory settings; thus, opening a path to explore interventions based on music in pathologies with underlying emotion deregulatory processes.

Concept Analysis: Music Therapy

Down through the ages, music has been universally valued for its therapeutic properties based on the psychological and physiological responses in humans. However, the underlying mechanisms of the psychological and physiological responses to music have been poorly identified and defined. Without clarification, a concept can be misused, thereby diminishing its importance for application to nursing research and practice. The purpose of this article was for the clarification of the concept of music therapy based on Walker and Avant’s concept analysis strategy. A review of recent nursing and health-related literature covering the years 2007–2014 was performed on the concepts of music, music therapy, preferred music, and individualized music. As a result of the search, the attributes, antecedents, and consequences of music therapy were identified, defined, and used to develop a conceptual model of music therapy. The conceptual model of music therapy provides direction for developing music interventions for nursing research and practice to be tested in various settings to improve various patient outcomes. Based on Walker and Avant’s concept analysis strategy, model and contrary cases are included. Implications for future nursing research and practice to use the psychological and physiological responses to music therapy are discussed.

Neuroplasticity beyond Sounds: Neural Adaptations Following Long-Term Musical Aesthetic Experiences

Capitalizing from neuroscience knowledge on how individuals are affected by the sound environment, we propose to adopt a cybernetic and ecological point of view on the musical aesthetic experience, which includes subprocesses, such as feature extraction and integration, early affective reactions and motor actions, style mastering and conceptualization, emotion and proprioception, evaluation and preference. In this perspective, the role of the listener/composer/performer is seen as that of an active “agent” coping in highly individual ways with the sounds. The findings concerning the neural adaptations in musicians, following long-term exposure to music, are then reviewed by keeping in mind the distinct subprocesses of a musical aesthetic experience. We conclude that these neural adaptations can be conceived of as the immediate and lifelong interactions with multisensorial stimuli (having a predominant auditory component), which result in lasting changes of the internal state of the “agent”. In a continuous loop, these changes affect, in turn, the subprocesses involved in a musical aesthetic experience, towards the final goal of achieving better perceptual, motor and proprioceptive responses to the immediate demands of the sounding environment. The resulting neural adaptations in musicians closely depend on the duration of the interactions, the starting age, the involvement of attention, the amount of motor practice and the musical genre played.

Distinct effects of positive and negative music on older adults’ auditory target identification performances

Older adults, compared to younger adults, are more likely to attend to pleasant situations and avoid unpleasant ones. Yet, it is unclear whether such a phenomenon may be generalized to musical emotions. In this study, we investigated whether there is an age-related difference in how musical emotions are experienced and how positive and negative music influences attention performances in a target identification task. Thirty-one young and twenty-eight older adults were presented with 40 musical excerpts conveying happiness, peacefulness, sadness, and threat. While listening to music, participants were asked to rate their feelings and monitor each excerpt for the occurrence of an auditory target. Compared to younger adults, older adults reported experiencing weaker emotional activation when listening to threatening music and showed higher level of liking for happy music. Correct reaction times (RTs) for target identification were longer for threatening than for happy music in older adults but not in younger adults. This suggests that older adults benefit from a positive musical context and can regulate emotion elicited by negative music by decreasing attention towards it (and therefore towards the auditory target).

The effects of emotion on memory for music and vocalisations

Music is a powerful tool for communicating emotions which can elicit memories through associative mechanisms. However, it is currently unknown whether emotion can modulate memory for music without reference to a context or personal event. We conducted three experiments to investigate the effect of basic emotions (fear, happiness, and sadness) on recognition memory for music, using short, novel stimuli explicitly created for research purposes, and compared them with nonlinguistic vocalisations. Results showed better memory accuracy for musical clips expressing fear and, to some extent, happiness. In the case of nonlinguistic vocalisations we confirmed a memory advantage for all emotions tested. A correlation between memory accuracy for music and vocalisations was also found, particularly in the case of fearful expressions. These results confirm that emotional expressions, particularly fearful ones, conveyed by music can influence memory as has been previously shown for other forms of expressions, such as faces and vocalisations.